Nazgol Ansarinia
Works
View of the installation at Galleria Raffaella Cortese, Albisola Superiore
Plaster and pigment colour
146 × 100 × 3 cm
Plaster and pigment colour
109 × 75 × 3 cm
Plaster and pigment color
53 x 39 x 3 cm | 25 x 25 x 3 composed of two pieces
2 channel video
3'
Installation view, Pools and Voids, 2021, Galleria Raffaella Cortese, Milan
Plaster and pigment colour
30 x 57,3 x 26,7 cm
Installation view, Pools and Voids, 2021, Galleria Raffaella Cortese | Milano
Installation view, Pools and Voids, 2021, Galleria Raffaella Cortese | Milano
Video
6' 15"
Video
6' 15"
Installation view, The Room Becoms a Street, 2020, Pejman Foundation/Argo Factory, Teheran
Installation view, C(to the power of)4, 2022, Kunstmuseum Liechtenstein
Ink and marker on paper
29,5 × 42 cm
Ink and marker on paper
29,5 × 42 cm
Ink and marker on paper
29,5 × 42 cm
Installation view, The Room Becoms a Street, 2020, Pejman Foundation/Argo Factory, Teheran
Silkscreen
50 × 50 cm
Silkscreen
50 × 50 cm
Blind print
50 × 43 cm
Blind print
50 × 43 cm
Installation view, The Room Becoms a Street, 2020, Pejman Foundation/Argo Factory, Teheran
Paper paste and glue
Biography
Nazgol Ansarinia was born and raised in Tehran (1979), where she currently lives and works.
She works with Galleria Raffaella Cortese since 2016.
Her work dissects and reimagines everyday objects and events, revealing their deeper connection to life in contemporary Iran. Her aim is to expose the inner workings of a social system by picking apart its components and reassembling them in order to reveal the collective assumptions at its core as well as its inherent rules of engagement. With a background in graphic design and a strong research-based approach, she moves fluidly across media — from video, sculpture, installation to drawing and 3D printing as a way of understanding the role of architecture in delineating interior and exterior spaces and private and public spheres.
Her practice reflects upon tensions between private worlds and the wider socioeconomic realm, and how local iterations of a culture might act as a site for the hopes and fears of those living in a (faltering) globalised world.
Ansarinia’s works are largely observational and technical in their scope, offering insight into the issues that are most pressing and urgent for today’s cities and the populations that inhabit them.
Nazgol Ansarinia was selected for the MOP/Parasol unit Research Residency in 2014 and was a recipient of the Abraaj Capital Art Prize in 2008. She took part in the National Pavilion of Iran at the 56th Venice Biennale (2015) and partecipated in the 10th & 12th Istanbul Biennial (2007 and 2011).
Selected solo shows include: C4 , Kunstmuseum Liechtenstein, Vaduz (2022); Pools and Voids, Galleria Raffaella Cortese, Milan (2021); Nazgol Ansarinia: The Room Becomes a Street, Pejman Foundation, Tehran (2020); Fragments, Particles and the Mechanisms of Growth, KIOSK, Ghent (2017); Paper trail, Galleria Raffaella Cortese, Milan (2016); Interior Renovations, Tehran, 2010, Green Cardamom, London (2011).
Selected group exhibitions include: NGV Triennial, National Gallery of Victoria (2023); Utopian Scenario About Nature, Busan Museum of Contemporary Art Gallery 2 (2023), The 10th Asia Pacific Triennial of Contemporary Art (APT10), Queensland Art Gallery, Gallery of Modern Art, Brisbane, Queensland, Australia (2021); Reflections: contemporary art of the Middle East and North Africa, British Museum, London (2021); The Spark is You: Parasol unit in Venice, Conservatorio di Musica Benedetto Marcello di Venezia, Venice (2019); Nine Iranian Artists in London, Parasol unit foundation for contemporary art, London (2019); Women House, Monnaie de Paris, Paris (2017); What We Know that We Don’t Know, KADIST, San Francisco (2017); Planet 9, Kunsthalle Darmstadt, Darmstadt (2017); Variable Dimensions, Museum of Art, Architecture and Technology, Lisbon (2017); Rebel, Jester, Mystic, Poet: Contemporary Persians, Aga Khan Museum, Toronto (2017); The Eighth Climate (What Does Art Do?), Gwangju Bienniale, Gwangju (2016); Schnitt Schnitt (Cut Cut), Kunsthalle Darmstadt, Darmstadt (2016); DUST, Centre for Contemporary Art Ujazdowsku Castle, Warsaw (2015); Adventure of the Black Square: Abstract Art and Society 1915-2015, Whitechapel Gallery, London (2015); Longing Persia, Exchange and reception of art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich (2013); Safar/Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit (2013) and CCA Wattis Institute for Contemporary Arts, San Francisco (2012).
Gallery Exhibitions
Public exhibitions
Press
Publications
